Feb. 3, 2020

Lots of news this week, plus new articles and a review. Let's start with the news.

Archiware released version 6.0 of the P5 Software Suite. The new version is a comprehensive technological revision, which optimizes data security, user control and integration. The new version also includes the new P5 Companion App, which allows drag-and-drop archiving from the workstation desktop, without the need to use the P5 web interface.

Audio Design Desk debuted Add.app, a sound design application featuring instant access to 20,000 sounds right from your keyboard. Using AI-assisted content creation tools to enable filmmakers, editors, sound designers and creators to produce cinema-quality sound in seconds. Every sound in the add.app library is assigned identifying characteristics and carries an embedded sync point, which means that as sounds are previewed and chosen, they automatically land on the timeline in the exact right position relative to the video.

Link: www.add.app

Last week, in my newsletter I wrote about DejaEdit, a collaborative editing solution for Avid Media Composer, Avid Nexis and EditShare workflows. However, I wrote it's Cloud-based; it isn't.  Nicolai Waldman, CTO for DejaSoft, wrote: "DejaEdit is not a Cloud-based editing app. It uses MediaComposer and downloads the media to a local drive, this means you work on an interface you know and can work offline." I'm sorry for the error.

Thinking of new products, I have a "First Look" at Pro Color Monitor, an innovative way of finding and fixing color casts in any kind of image. You'll find the article here.

Then, based on what I've learned over the last couple of weeks, I have a new set of recommendations on how to deal with image scaling in Adobe Premiere.

My other new article is a look at my nine favorite hidden mouse shortcuts in Final Cut Pro X. These sneaky things can save you a ton of time - but, first, you need to know where they are and what they do. This was a fun article to write.

If you haven't visited TheInsideTips.com yet, now is a good time - we've published more than 320 tips for Premiere, Final Cut, Motion and media in general. What's even more exciting is that editors are now sharing their favorite tips. I enjoy reading everyone's ideas! Please sign up for the subjects you're interested in.

One more thought. I'm looking for reader stories for my new book: " Techniques of Visual Persuasion." If you are interested in helping, drop me an email and I'll send you the details. I'm looking for stories about using visuals outside of traditional filmmakin.  I have room for about three more.

I always enjoy hearing from you. Until next week,   edit well .  

Using HDR Media in
Apple Final Cut Pro X
RAW, sLog, HDR, 12-bit, 16-bit... What are all these different video formats and how do you work with them in Final Cut?

It's easy to get confused!
This session covers:  
* What HDR and log media is 
* Tips to color grading HDR  
* How to work with RAW, HDR, log
   and ProRes media in Final Cut Pro X
Using HDR Media in
Adobe Premiere Pro CC
RAW, sLog, HDR, 12-bit, 16-bit... What are all these different video formats and how do you work with them in Premiere?

It's easy to get confused!
This session covers:  
* What HDR and log media is
* Limitations of HDR in Premiere 
* How to work with RAW, HDR, and
   log media in Premiere Pro CC
Download: HDR in Premiere Pro  
» Final Cut Pro X: 9 Hidden Mouse Shortcuts ( Tutorial)
    » Secret places to click that make interesting things happen!

» First Look: Pro Color Monitor ( Review)
    » A different way to remove color casts without using video scopes. 

» Premiere: How to Scale Images Automatically ( Tutorial)
    » An explanation of a preference setting that can speed your work.
» EQ: Warm a Voice & Improve Clarity

»  Pick  the Right Version of ProRes

» New Font Menu in Premiere Pro CC

» Premiere : Image Options

» View all tutorials here.
» Apple Final Cut Pro X: Complete

» 273: HDR in Final Cut Pro X
» 248: Basics of Editing in Premiere   
» 261: FCP X Color Correction
» View all webinars here. 
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